It's Not You, It's Me - I Just Don't, You Know, Think We're Compatible

"It should go without saying that our responses to the handmade, the mass-produced and techno gadgetry are principally structured within and by fantasy worlds. Cook explores peoples relationships to objects in a world that is perpetually developing and enhancing itself materially, or so it seems.

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Life is Very Long

Yarra Sculpture Space, Melbourne 28 August - 12 September 2004

Cliff Burtt

Pixel Perfect: The Craft of Photography in the Age of Digital Reproduction.

Walkling proclaims that something is being mourned that has to do with the physical object and its associated labour, in the meantime the distinction between amateur and professional photographer is lessening as this particular creative niche is becoming more automated.

Les Walkling

The Art of Outsourcing

While our romantic inheritance imagines artists working in isolation, this is changing. Increasingly, successful artists are working with teams of technicians who contribute precious amounts of skill, time and experience to the final work. Harvey looks at the relationships between artists, apprentices and their creations within the realm of tactile, three-dimensional art and some of the apparent concerns associated.

Nicola Harvey

In the Wake of Gesture: Architecture and the Handmade

Architecture has long since surrendered the tactile in favour of grander visions. Through an examination of Sandra Seligs recent work Synthetic Infinite at the Museum of Contemporary Art in Sydney and the unique responses to architecture and the handmade that this work displays, Murray attempts to question how we might then consider architecture and our relationship with built matter to restore a direct connection with human experience.

Ainslie Murray

For Nothing

The Bank, Midland, WA 26 November - 14 January 2005

Ian McLean

The Darkroom in the Age of Post-Film Photography

In both amateur and professional photography the few multinational corporations that control the industry have collectively marshalled their marketing strategies to capitalise on recent advances in digital technology. Jolly looks at the shifting photographic trends, their viability and the increasing loss of intimate image-making.

Martyn Jolly

Christian de Vietri: The Nature of Things

Goddard de Fiddes Gallery, Perth 27 November - 18 December 2004

Simon Blond

Vivienne Westwood

National Gallery of Australia, Canberra 12 November 2004 - 30 January 2005

Joanna Mendelssohn

Patrick Hall's Cabinets of Everyday Curiosities

For Hughes, Patrick Halls cabinets recall the great elaborately decorated cabinets of the 17th century. Rather than mere decoration, Halls cabinets express a poetry of the everyday that is neither a condescending celebration nor a critical analysis but a deeply personal response to his materiel.

Peter Hughes

The Sounds of Silence

Through traditional method, an explicit residue of manual labour, and a constructed subject, Ricky Swallows wooden work suggests a past tense, which leads the viewer backwards through the material history of the work. The Defining aspects of Swallows approach are distinctly framed in the western tradition of the artisan and the language of figuration.

Damiano Bertoli

Calling all Anti-Capitalist Pashtivists, fluxus reincarnators and Crafty Billboard Operators: Documenting the Uncollectable

Royce W. Smith

Disorientate: Colour, Geometry and the Body

John Aslanidis, Paul Boam, John Dunkley-Smith, NeilHaddon, John Plapp, Wilma Tabacco Plimsoll Gallery, University of Tasmania, Hobart 15 October - 7 November 2004

Philip Watkins

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